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STATION 



E 

E II I 



VOLUME 7 

NUMBER 3 

AUGUST 

1999 



An Interview with Robert Sabuda, Part 1 

Barbara Valenta 
Staten Island, N.Y. 

Robert Sabuda, winner of the first Movable Book 
Society Meggendorfer Prix for outstanding contribution 
in the field of paper engineering, is a young artist whose 
career path has traced a bright and influential trajectory 
in his field. He is known internationally for the intricacy 
and beauty of his pop-ups, his great eye for color, and 
his ability to incorporate time through movement into his 
work. In person, he is very modest, very supportive of 
others in the field, and absolutely dedicated to what he 
is doing. It was a pleasure to be granted the time to do 
this interview in his New York City studio. In Part I of 
this interview, Sabuda describes his boyhood, influences, 
and the path that led to his phenomenal success as 
author of tlhe tremendously popular Christmas 
Alphabet. In Part 2, he will discuss his work methods, his 
professional life and future plans. 

BV-Can you fill us in a little bit about your boyhood? 
Was there any indication then of what your future path 
would be? Were there any influences, role models, 
mentors? 

RS- I grew up in a small town in rural Michigan. 
Pinkney, Michigan. I was always an artist, always drew 
and sketched. I wasn't a very good painter. My mother 
was a secretary for Ford Motor Company and we didn't 
have very much money. She would always bring home 
Ford Motor Company stationary for me, and sometimes 
she would bring home manilla folders that had been used 
for something else-and at that time you couldn't get card 
stock-there just was no such thing-so that was great and 
I made my first pop-ups from those manilla folders. 

In school the teachers always asked me to do bulletin 
boards, which was fun. I used lots of cut paper and got a 
very good introduction to paper that way. In high school 
my teacher told me- in this little town in rural Michigan 
she said to me "You should go to Pratt". (Pratt Institute-a 
well known art school in Brooklyn). She took me by the 
hand and guided me through all four years of high school 
showing me what it would take to live the life of an 
artist. And so I applied to Pratt. That was the only school 
I applied to. And after graduation I came to Pratt. My 



senior year of Pratt I did an internship at Dial Books for 
Young Readers and I really learned about publishing in 
general. 

BV-Just general things or specific things? 




RS-Well, I didn't know that pictures and words could go 
together. I hadn't understood the idea of a book that 
well.. I saw some amazing original art work for books 
there for the first time and that influenced me 
tremendously. At the age of twenty-two you're supposed 
to decide what the heck you want to do-and so I thought 
"I could do this. I could make this happen." I was always 
interested in graphic design, graphic imagery. Pop-Ups 
are very concrete. They either work or they don't. So I 
finished my senior year at Pratt and geared everything 
towards book illustration. After that it took me ten years, 
ten long years (to become established in this field). 

BV-How did you earn a living during those years? 

RS-Lots of freelance graphic work on the side, and 1 took 
all the illustration work I could get. Right after I got out 
of college I illustrated coloring books to make money. (I 
can't believe I'm telling you this!) 

BV-That's a hot tip. That's very interesting. 

RS-Even though it was coloring books I began to learn 
more about publishing. Things I didn't know about 
distribution and what it meant when something was mass 



The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. The annual 
membership fee for The Society is $15.00. For more 
information contact Ann Montanaro, The Movable Book 
Society, P.O. Box 1 1654, New Brunswick, New Jersey 
08906. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 

e-mail: montanar@rci.rutgers.edu 

Fax: 732-445-5888 

The deadline for the next issue is November 15. 



books? 

RS-Well a friend of mine from Dial became an editor at 
Putnam and gave me my first manuscript to illustrate. So 
that was my first childrens' trade book. And then the 
process began to snowball. One book led to another and 
another. 

BV-These were flat books? 

RS-Yes. Picture books. 

BV-Were your illustrations similar to what you would do 
now? 

RS-Actually I started out as a print-maker-a linoleum 
block printer-so my original book illustrations were 
linoleum block prints. 

BV-Were they black and white, or just a few colors? 



market. I hadn't heard that term before. 

BV-What were some of the elements of publishing that 
you learned that the average person on the street 
wouldn't necessarily know? 

RS-Well when 1 was young at home we could never 
afford hard cover books. We could afford paper backs, 
which was fine as long as they were books. 1 only 
discovered later that those paper backs were considered 
mass-market books. The hard-covered trade books cost 
more. The coloring books sold for one dollar. So they 
were mass market. 

BV-ls the marketing for those two kinds of books 
different? 



RS-Actually some of them were pretty involved-up to 
fifteen blocks for one illustration. 

BV-So that was very intricate. 

RS-Very complicated. 

BV-This is very interesting because I think that's an 
element of your persona, that you have the capacity to 
really plan something-to really get into it. 

RS-Yes. To really make it work. I really did a lot of that 
in printing because everything has to align. And you 
have to do that with pop-ups because everything has to 
work. That thing isn't going to spin around by 
happenstance. It doesn't just happen. 



RS-I don't know. I guess it depends on the publishing 
house. I think it is because big stores like Barnes and 
Noble have more interest in trade books, while the local 
pharmacy is more interested in mass market books. 
They're not able to sell a book for twenty dollars. 

BV-And are the financial returns on those two kinds of 
books the same, because you'd sell more mass market 
books? 

RS-That's a good question. I think places like the 
pharmacies don't order as many books as Barnes and 
Noble. 

BV-What happened next in your career after the coloring 



BV-But doesn't the process have a lot of trial and error 
in it? 

RS-Oh tons! 

BV-Because I usually envision planning as being over 
there and trial and error being over here. 

RS-That could be but often the trial and error can lead to 
steps of progression that you wouldn't have realized in 
the beginning. 

BV-Oh. You mean you can't just be intuitive? You have 
to be analytical. 

Continued on page 8 



Apriti Libro! 

Pietro Franchi 
Bologna, Italy 

(This article is a translation of Franchi's book Apriti 
libro! Meccanismi, figure, tridimensional^ in libri 
animati dal XVI at XX secola. Edisioni Essegi, pp. 45- 

51.] 

In 1886 Casa Editrice Hoepli of Milan introduced 
Sempre allegri bambini, one of Lothar Meggendorfer's 
mechanical books. In 1871 Ulrico Hoepli had purchased 
T. Leangner's bookstore and publishing company. That 
same year a single 



Pictro Franchi 

Apriti libro! 

MriulnKmi, figure, tridimenswnalita 
in libri dnimtlti dal XVI at XX sctciu 




volume was 

published - the 

first stage in 

the growth of a 

specialized 

imprint, 

consisting 

primarily of 

handbooks, that 

continues to 

this day. In the 

following years, 

Hoepli's 

dedication to 

fine printing 

enabled the 

company to 

publish children's books with high quality illustrations. 

Between 1880 and 1890, ten movable books were 

published. Graphically, these books are analogous to the 

original language editions from which they were 

translated. The texts are either adapted or rewritten. An 

examination of the mechanicals for some of these 

editions reveals that the lithographic designs and the 

numbering of the parts are in the original language. It is 

therefore likely that the books were printed and 

assembled abroad and only them imported. The truly 

remarkable popularity of these books forced the publisher 

to produce several editions of some of the titles. 

In the thirties, Hoepli repeated the success of its first 
children's books with the "theater book." This 
masterpiece of the publisher's art, published in 1938, is 
without a doubt one of the most beautiful movable books. 
Designed by the great set designer Mario Zampini and 
illustrated by Raimondo Centurione, the result is a 
panorama book that opens in the round. It tells a tale that 
can be viewed on four planes, divided into six stage sets. 
The little booklet that accompanies the book even 
indicates how the volume should be lighted in order to 



see the pictures at their best. 

During this same period, a variety of other printers 
also produced editions of movable books, always basing 
them on translations. 

In 1900 in Turin, Rosenberg & Sellier, a publishing 
company founded in 1883 that specialized in scientific 
works, published / veri scophtori del Polo Nord (The 
true discoverers of the North Pole) - an ironic adventure 
story of two young explorers, complete with drunken 
bears and dirigibles. Editrice Treves, founded in 1861, 
published Giornale die Franciulli (The Children's 
Newspaper), a magazine edited by "Cordelia" (Virginia 
Tedeschi-Treves). Advertisements for Gioppini appeared 
in the pages of this magazine. Gioppini is a small theater 
book about the title character, a commedia dell'arte 
figure from Bergamo. The puppets are inserted into a 
magnificent stage setting. Paper rods move the figures to 
go along with the short rhymes of the text. 

Milan's Vallardi published movable books with 
stories derived from classic fairy tales. These books are 
"Magic Pictures" in which movable strips of paper are 
used. When set into motion, the strip allow the subject 
of the story to be changed in the blink of an eye. 

Fior dell' Aurora (Dawn Flower) is a beautiful 
example of a panoramic little theater. It consists of a 
single picture that unfolds across two pages with text at 
the bottom of the pages. It tells the story of Sleeping 

«Ei» .-* yzs^m ■* />■- ... . * Beauty. Vallardi also 

1 VQUSGOtfRlTORl wem on t0 produce 

* i M+Jsklfl ^^ %jT many color picture 

jdJ^OjOjlORl) books and alphabet 

I chromolithography 

I for high quality 
editions. 



Among the publishers 
who, like Hoepli, 
devoted themselves to 
making movable 
books, the Florentine 
Lorenzo Franceschini 
is worthy of special 
mention: initially, as 
a printer for others, then as an editor for Deposito 
Edizioni, and later as a publisher on his own. The 
discovery of a group of documents has enabled scholars 
to reconstruct the history of several valuable movable 
books produced entirely in Italy. In a letter of January 
1931 to the publisher Bemporad, the printer Lorenzo 




TORINO 




Franceschini presents proposal for making movable 
picture books, and in particular, for the printing of a new 
abridged edition of Collodi's Pinocchio, a title which was 
already in Bemporad's catalog of movable books. An 
agreement to make this edition was never reached. 
Franceschini went on to publish a few picture books 
under the Desposito Edizioni imprint with the general 
title "Le fiabe Piu Belle" (The Most Beautiful Fairy 
Tales). The illustrations were entrusted to the painter 
Ezio Anichini. Four titles were slated for publication: 
Cinderella, Little Red Riding Hood, Puss in Boots, and 
Beauty and the Beast. A 1938 advertisement indicates 
that Tom Thumb was to be 
added to the list. In 1943, 
Lorenzo's son Renato was 
finally able to carry out his 
father's project: an edition 
of Pinocchio with movable 
plates and high quality 
graphics. This edition drew on 
many sectors of the publishing 
industry. The colophon attests 
to the variety of firms involved 
in this one great publishing 
enterprise. In 1942 no fewer 
than eight operations (printers, 
binders, etc.) worked with 
Franceschini to produce this magnificent edition. The 
publisher entrusted the painter Attilio Musiani with the 
job of carrying out the project. Following suggestions 
provided by the printer, Musiani contributed new 
illustrations to serve as the basis for creating the movable 
plates. Distribution of the first edition was by Marzocco 
publishing house. On the last page of the cover the 
publisher's statement reads: "Edition conceived, printed, 
and constructed under the careful supervision of the 
Author, proprietor: Cav. Renato Franceschini, Viale Italo 
Balbo 5 - Florence (all rights reserved)." The book was 
so successful that a letter of July 1 943 to the publisher 
Giunti-Marzocco announced its fifth edition (42 nd 
thousand). The eight movable plates accompany an 
abridged version of Collodi's original text. Green line 
drawings were also interspersed throughout the text. 

Franceschini's plans for an on-going project of books 
with movable plates became a reality with the creation of 
several series. Picture books with three movable plates in 
"Large Format with Gold on the Cover": so reads 
information found in an editorial document. "Gold on the 
cover" was to become the distinctive feature of Edizioni 
Franceschini books published from 1942, the very year in 
which their Pinocchio was published, until the 
publishing house closed its doors. 



The Garden is Open 

Nancy E. Oates 
Chapel Hill, NC 

Fifty-five years ago when Bernice Wade, then a young 
bride, moved to Chapel Hill from Arizona, she bought a 
barren plot of land near the university and hired a local 
man and his mule to plow it. That first year she planted 
everything in the Burpee catalog - everything she 
couldn't grow in Arizona. 

Year's later, after her husband's death, Wade's twin 
sister, Barbara Styles, moved into the mother-in-law 
apartment attached to the house and set her hand to the 
wheelbarrow. She never looked back. 

Two years ago when illustrator Pamela Pease moved 
to Chapel Hill from California, she started taking daily 
walks through his historic Gimghoul neighborhood, past 
the garden of the 80-ish twins. She watched it change 
through the seasons, from brown to green, to the first 
shoots of yellow from the tulips and pink blush of azalea 
buds. So taken was she with the story of the twins' 
garden that she captured it in a picture book, complete 
with a pop-up garden that blooms among the pages and 
a packet of seeds from the sisters' garden tucked in the 
back. 

"The garden is the center of the neighborhood," Pease 
says. "People stop by, chat and help out a bit. I tried to 
visually portray the feeling of living around the garden." 

Pease might have remained just one more admirer of 
the garden had it not been for a requirement of her 
master's degree in illustration from Syracuse University 
that she create a 32-page picture book. The bright colors 
and simple shapes that characterize Pease's style as an 
illustrator seem custom-made to translate the brilliance 
of a garden in bloom to the pages of a book. 

"It's a picture book for people of any age, for 
gardeners and for people who admire gardens, " she says. 
"I started with idea of the illustrations and a rough idea 
of how the text would go. I didn't know how the ladies' 
story unfolded til I sat down and talked with them." 

The sisters' story is the stuff of fairy tales. Their father, 
a gardener from Nova Scotia, ended up in a mining town 
in Arizona, where, undeterred by the climate, he planted 
a honeysuckle vine. The twins watered it with the 
dishwater they threw out each day, and it climbed to the 
top of their chimney, three stories high. In the spring, the 
fragrance of the honeysuckle drew the whole town to 
their house, and they held a celebration that became an 
annual event. 

Then Wade's marriage took her to the wilds of Chapel 

Hill. "When I got off the plane and saw all the 

honeysuckle here, I was in seventh heaven," Wade 

recalls. "I didn't know then what a pest it would be." 

Like everyone in the early 1940s, Wade planted a 



Victory Garden, though her gardening expertise had not 
grown much beyond watering the honeysuckle. The 
garden failed, so she hired the man and his mule to plow 
it under. Unbeknownst to her, the stunted vegetables and 
the mule droppings added nutrients the soil needed. 
When she planted flowers the following year, everything 
grew. She arranged and rearranged the plants like an 
impressionist painter until she was pleased with the 
effect. 

"We'd just get all the plants settled, and I'd move 
them to get the colors right," she says. 

By the time Styles moved in. Wade had learned about 
raised beds and other gardening techniques. Styles' love 
of animals added another dimension to the garden with 
the addition of feeders and cob holders for the birds and 
squirrels. 

The twins garnered a well-deserved reputation as 
horticulture experts. Neighbors stopped by for advice and 
to admire the flora. They usually returned home with a 
few cuttings or a handful of seeds for their gardens along 
with advice from the sisters. The twins revived the 
tradition their father started decades ago of inviting the 
community for a celebration when the garden is at its 
peak. 

The prospect of turning that story into a book was the 
challenge for Pease. She painted the illustrations for the 
book in oil on clayboard, which dries faster than canvas 
and is easier to scan into her computer's page layout 
program. Then she began work on the text. Because she 
had little writing experience, she took her text to the 
Society of Children's Book Writers and Illustrators 
conference to have it critiqued by a professional. 

"I thought the text would be easy," she says. "The 
book is mostly illustrations with a few words per page, 
but it was difficult trying to say what you want in very 
few words and have it flow." 

Pease had the graphic design capabilities and a 
computer with a large-format printer, so turning her 
master's degree project into the basis for a publishing 
company - Paintbox Press - was easier for her than it 
might be for most. She was familiar with the 
manufacturing process, because she ran a swimwear 
design and manufacturing business in Los Angeles before 
moving to Chapel Hill, and she had read some books on 
self-publishing. For this year's garden party, she printed 
a sample of 50 books - no small commitment, given that 
each books takes two hours to print, then it is sent to a 
binder. 

The book was so well-received at the garden party that, 
within a week, Pease had orders for 100 more. A 
representative from Barnes & Noble in Durham came 
calling, as did Quail Ridge Books in Raleigh. She is now 
collecting price quotes from printers in hopes of ridding 
the book of its "limited edition" status. 












THE GARDEN IS OPEN 




"It's only limited by the number of hours I have in the 
day to catch the pages as they come out of the computer," 
Pease says. 

The book's title The garden is open, comes from the 
discreet wooden sign the sisters post on their front lawn 
whenever they feel the garden is ready for visitors. 

Every week hundreds of admirers wander through the 
garden paths to enjoy the waves of azaleas guarded by 
phalanxes of tulips, blue phlox, columbine and Russian 
forget-me-nots. Blue and red anemones form a welcome 
mat in front of the dogwoods and magnolia trees. A lady 
Claire camellia reaches all the way up to the second story 
deck. 

"We spend as much time as we can working in the 
garden," says Wade, wearing a shirt with goldfinches 
and thistles painted on it. "Every bright day." 

"Sometimes we stop to pay bills," Styles notes. 

"We mow and make cuttings, but we don't 
wheelbarrow anymore," Wade says. 

"We do the potting under the desk," Styles says. "It's 
not pretty to watch." 

"It's been 55 years in the making," Wade says. "Every 
year it is prettier and bigger," Styles says. 

Wade and Styles were flattered when Pease 
approached them last year with the idea of doing a book 
about their garden. They, too, are pleased with its 
success. 

"It's a charming book. The colors are so beautiful, 
and it's poetic," Wade says. 

"When people come to visit, we make them read it out 
loud," Styles adds. 

Reprinted with permission from The News & 
Observer, April 24, 1999. 



Tredimensionelle scener 
och Rorliga figurer 

Theo Gielen 
The Netherlands 

That exotic title in Swedish is the title of the chapter 
on books with "three dimensional scenes and movable 
figures" in a recent book written by the Nestor of 
bibliography and history of children's books in Sweden, 
Professor Gote Klingberg. In this book, Den tidiga 
barnboken i Sverige. Litterdara stromningar, Marknad, 
Bildproduktion (The historical children's book in 
Sweden. Literary trends, market, production of pictures) 
Mr. Klingberg describes the early, nineteenth century 
history of pop-up and movable books in Sweden; to our 
knowledge the first record of this. 

In the chapter describing the international trade in 
children's picture books he writes about "imported 
picturebooks with deviating design" as there are books 
with changeable pictures, three-dimensional books, 
leporello books, linen books, shaped books and books 
with uncommon bindings published in Sweden in 
(mostly the last 25 years of) the 1 9 th century. 

Though we didn't know too much about the history of 
Swedish pop-up and movable books in general, it was 
very interesting to read about the international 
circulations of so many titles we know as highlights in 
the history of novelty and movable books, almost all 
originating from either England or Germany. While we 
traditionally think of international co-productions of 
children's picture books as a phenomenon which 
developed after the Second World War, Mr. Klingberg 
shows convincingly how European printers and 
publishers marketed their products worldwide from the 
1860's onward. Illustrating this for the Swedish market 
he challenges the writing of the international history of 
movable books to show how the European makers 
marketed their productions in countless languages all 
over the world - using their own imprints or using 
existing publishing houses in the various countries. 
Packaging is not an invention of our times. 

Since we don't think too many members of The 
Movable Book Society are able to read the book in 
Swedish, we here will review the most interesting 
sections of the books, adding to the Swedish titles the 
more well-known titles from the original English and 
German editions of the mentioned books, and 
(sometimes) filling in information gaps for Mr. 
Klingberg. 

In the chapter on books with changeable pictures 



Mr. Klingberg distinguishes nine categories: 

* Paper doll books 

* Books with double-sided printed flaps at three 

sides of the pages 

* Books with pictures on pages of various widths 

* Heads, bodies and legs 

* Books with a hole in the place of the head 

* Books with pictures with an underlaying variant 

* Venetian blind books 

* Books with transparencies 

* Books with cut-out pictures 

Paper doll books (Mr. Klingberg calls them "books 
with inserts") are generally known from the series done 
by S. & J. Fuller in London in the 1 8 10*s. It is less well 
known that at the same time such books were produced 
in Vienna, too, by the firm of Heinrich Friedrich Miiller, 
in a slightly different way. At least two of the titles of the 
Viennese production were published in Swedish editions 
by J.F. Walter, Stockholm, in 1825: August fovandlingar 
(reprinted in 1831 as Den unga August) and Isabellas 
forvandlingar, being translations of the original Austrian 
titles August Venvandlungen in which the (nude) boy 
August, pictured in copper engraving on a small card, 
can be clothed by overlaying cut-out pictures in six 
different ways, changing from a soldier to a troubadour 
with harpsichord, etc. In Isbellens Venvandlungen, the 
girl Isabelle can be clothed as a nun, a farm girl, in a ball 
dress, etc. The two books are also known in German, 
French and Dutch editions. 

Books with double-sided printed flaps at three 
sides of the page, that can be unfolded and give 
successively "further" stages of the pictured events. As an 
example is given Skdde-albumfor snalla barn, published 
in 1876 by Huldberg in Stockholm with two picture 
pages folding out to 52 x 32 cm. and showing, 
respectively, a children's ball and a circus scene. Using 
the six pictures on the three flaps and folding them out or 
laying them just to overlap the base picture (they always 
mix up), the picture can be changed in many different 
ways. 

Though Mr. Klingberg couldn't trace the foreign 
version, the book is reminiscent of a French original and 
was probably printed by Emrik & Binger from Haarlem 
in the Netherlands. We could not find any French book 
with this technique but did find an English book showing 
this same technique of folding flaps on three sides of the 
two picture pages: The magic picture book, London, 
A.N. Myers & Co., n.d. (but published in 1875), with 
plates of the "Zoological Gardens" and "Pauline, or the 
little housekeeper" and printed indeed by Emrik & 
Binger. Continued on page 1 1 



Arizona - Annual Exhibit 



The 3 rd Conference of 

The Movable Book Society 

will be held 

September 2000 

New York City 

in conjunction with the exhibition 

"Brooklyn Pops Up" and 

New York is Book Country 



James Sinski 
Tucson. Arizona 



Current Book Exhibitions 

Germany - Meggendorfer 

Peter Schuhle 
Loxstedt, Germany 

The extraordinarily comprehensive Meggendorfer- 
Collection of the Norddeutsches Spielzeugmuseum 
(North German Toy Museum) with more than a hundred 
objects is presented to the public for the first time. 
Besides a diversity of printed matters there are also some 
of Meggendorfer's original hand drawings to be seen in 
the exhibition. Thanks to a personal lender, the rare 
revolving pictures, which Meggendorfer developed about 
1 895 for the Wilhelm Loos publishing corporation, are a 
special point of attraction in the museum. Some of them 
were not issued and were samples for the publisher! The 
last comparable Meggendorfer exhibition took place 
about nineteen years ago. (The Christmas exhibition of 
1980 in the Munich Town Museum included items 
loaned from New Yorker Justin Schiller's Meggendorfer 
Archive, which was sold by auction in 1982 at Sotheby's 
in London. 

A special highlight is an enlarged reproduction 
showing a compartment of a train with four revolving 
disks to be turned by the visitors. The visitors can learn 
about the principle of movables while looking at reprints 
and playing with them. The exhibition can be visited til 
end of October at Norddeutsches Spielzeugmuseum, 
Poststr. 7, 29614 Soltau. It is open from 10 am to 18 pm 
(last entry: 17 pm). Tel.: 05191-82182 or -2620. 



The 12 th Annual Pop-up and Movable Book Exhibit 
will be held at the University of Arizona in Tucson. The 
exhibit can be seen from Wednesday, December 1 , 1 999 
through Friday, January 28, 2000 at the University Main 
Library. It will be housed in Special Collection Lobby 
and the main and third floor. For the opening date only, 
David Carter will speak informally and sign his books 
from 9:00 a.m. until 1 1 :00 a.m. An exhibit of books and 
pop-up advertising that Mr. Carter has worked to create 
will be found in the exhibit cases in the Special 
Collections lobby. The books to be signed need to be 
purchased before the opening because the library does not 
sell books and only a very limited number of pop-up and 
movable books are sold at the University Book Store. 
New books published during the past year will be 
exhibited in the cases in the Main Library building. 

This exhibit is free and open to the general public. A 
catalog will be available for those attending the exhibit 
at no charge. 

The Library and Special Collections hours can be 
obtained by calling 520-621-6441 or 520-621-7440. 

Spain - A Century of Pop-ups 

Quim Corominas is the curator of an exhibition of 
pop-up books being held in Cirona, Catalunya, Spain 
from December 17, 1999 through January 15, 2000. 
Between 250 and 300 books will be exhibited. A catalog, 
"Pop-up, llibres movibles i tridimensionals," is sponsored 
by Fundacio Caixa de Girona, Centre Cultural de Caixa 
de Girona. 

For more information contact Quim at 
qcorominas@arquired.es. 

New Jersey - Artist's Books 

The Gallery of South Orange, New Jersey is celebrating 
the book arts with a major exhibition entitled "Beyond 
the fold: Artist's books from traditional to cutting edge." 
The exhibition, co-curated by Ed Hutchins, opens on 
September 12 and continues through October 31, 1999. 

In addition to the exhibition there are workshops 
including paper making, letterpress printing, book 
making, gocco printmaking, and pop-up structures as 
well as lectures and performances. For more information 
call the South Orange Department of Recreation and 
Cultural Affairs at 973-378-7754. 



Sabuda interview, continued from page 2. 

RS-That's right. Now I can be intuitive. Now I can 
mentally visualize something working. 

BV-Because you've built up a visual 3-d vocabulary. 

RS-I love precision when 1 make collage papers and wet 
the paper and splash color on it 1 love the freedom of 
that, but then I have to make something precise out of it. 
Not all my work is like that though. Some of it is very 
broad. 



BV-I think that the precision is intriguing to people. So- 
going back to the progression of your career- what 
happened after the linoleum prints? What came next? 

RS-I started to work more in paper and discovered my 
love of paper-which I'd always had but hadn't had the 
opportunity to explore... doing paper mosaic illustrations, 
2-d cut paper things which led in a natural progression 
to pop-ups, adding an element of dimension and of time 
(movement). 

BV-Are you totally self-taught as a paper-engineer? 

RS-Completely. I looked at other peoples books to figure 
out the hows and whys of it-and I'm happy to be part of 
that. You do variations on a theme by so-and-so and they 
do the same. 

BV-I saw an exhibition a few years ago that showed how 
the Impressionists borrowed from each other. So it's 
nothing new. Someone would start a theme and someone 
else would pick it up and do a variation on it. 

RS-Yes. In the last year I've noticed some of my 
mechanisms appearing in the books of others. So it's 
come full circle. It's an interesting feeling. They're doing 
what I did. 

BV-When you made your first pop-up book was it very 
intentional that you wanted to do a pop-up? 

RS-Well it was in 1994 and it was Christmas Alphabet. 

BX-Christmas Alphabet! That was your first pop-up 
book? You must be kidding! 

RS-No I'm not. 

BV-So you've been doing this for only five years. That's 
extraordinary isn't it! 

RS-I don't know. 



BV-Who published it? 

RS-Orchard Books. I think it's a division of Grolier. 

BV-So tell me the story of Christmas Alphabet. 

RS-I knew I wanted to do a Christmas book. Being from 
Michigan the winters there are so white and beautiful. 
Everyone said if you want to do a Christmas book it will 
really have to be unusual because there are so many of 
them each year. At that time I was working on package 
design. I was doing a lot of that at the time-for products- 
just to pay the bills-and I was looking through a catalog 
and I saw a picture of a very graphic white dove against 
a very bright background. And I thought "I love that! 
Wouldn't it be great if I could do a Christmas book like 
that, very shapey and simple." Up until that time 
everything that I had done had been very illustrative and 
involved looking. And I thought "Wouldn't it be nice to 
go in a totally different direction with this book." And I 
wanted to make a pop-up book. But I didn't know how, 
so I had to go out and teach myself the basics. What a 
huge undertaking. Why did I have to pick a project where 
I'd be making twenty-six pop-ups? It was an artistic 
challenge and I love challenges. Even if I fail I'd rather 
give myself the challenge and say I failed. Sometimes it's 
exhausting but I'd be bored if I didn't have artistic 
challenges in my life. I originally took it to Dial Books 
For Young Readers, and they just didn't feel they could 
handle it. So I took it to a packager. "White Heat" and 
they sold it to Orchard Books. Because I didn't have any 
production understanding about what I'd have to do to 
make this happen., and they did. 

BV-If you take something to a packager do you get a 
much lower percentage remuneration? 

RS-Yes. Less then one half of what you'd get if you went 
to a publisher. Christmas Alphabet is still out there. It 
was a learning experience, a stepping stone to other 
experiences, and that's what life is. 

BV-Did you give "White Heat" a full dummy" (a full 3-d 
mock-up of the book) 

RS-I gave "White Heat" a partial dummy. I think it was 
only eight pop-ups. 

BV-And so it was taken on that basis? 

RS-It was. They loved it and said "We'll find someone to 
do this." 

BV-What was the timing on all this? 



RS-Dial got it in 1992 and had it for a year before they 
said "No". It came out in 1994, one year after I gave it to 
'White Heat". 

BV-Do you think authors should have a moratorium on 
how long a dummy stays with a publisher before a 
decision is made? 

RS-I think publishers should be able to give a definite 
yes or no within six months as a courtesy, including 
pricing and so forth. I also believe multiple submissions 
are all right as long as the publisher knows from the 
beginning that you're making multiple submissions. I'd 
make three dummies. 

BV-How many spreads? (Open double pages) 

RS-At least three spreads, one in color. 

BV-Can the publisher figure out manufacturing costs on 
the basis of just a few spreads? 

RS-I think a good manufacturer should be able to. 

BV-So once Christmas Alphabet came out, it's like "the 
rest is history". 

RS-Like a wave. 

BV-But you love it. Don't you? 

RS-I love being my own boss, but 1 don't like the 
deadlines-and having to live up to one's own reputation 
in terms of sales and so on and the expectations of others 
can be stressful. 

BV-How did you know Cookie Count would sell? 

RS-I knew it wouldn't be the kind of financial reward 
that a holiday book would-that has that built in, so I had 
to be willing to live with that, and the publisher did too. 
Also, I have to be able to do the kind of books I want to 
do. 

BV-Right. So there's still that tension that has to be 
resolved. 

BV-Yes. Because publishers would like nothing better 
than to have me do a Christmas book every year but I 
don't feel I can do that-or want to do that. 



Update from New Zealand 

Charles Duke 
Christchurch, N.Z. 

In Volume 7, number 1 Charles Duke described the 
difficulty of being a collector in New Zealand. On June 
10, 1999 he reported this update. 

I write this e-mail so that it can be seen that my faith 
in the human kind has again been rewarded. 

On the 21 st of April, 1998 (now note the 1998) I 
ordered a book called Black cat, white cat: A pop-up 
book of opposites (the paper engineer and author is 
Chuck Murphy, ISBN 068981415 1). Books.com, with its 
usual excellent and prompt service, shipped the said book 
on the 19 th of May, 1998, just as soon as it was published. 

Now by mid-August I became a little concerned at the 
non-arrival of the aforementioned book (one could take 
the position that I was a tad impatient after only 13 
weeks, but so be it) and thus contacted Books.com. 
Whereupon they, within 24 hours, dispatched another 
copy, via air mail, at their expense. An excellent, 
excellent response. The second book arrived in 8 days 
and all was well with the world. 

It is now the 2 nd of June 1999 (now note the 1999, the 
current year!), a package arrived from Books.com. One 
I was not expecting, but one that on opening contained, 
to my surprise, a pristine copy of Black cat, white cat\ 

On careful examination of the package the following 
sequence of events was discernible: 

* posted in the USA on 19 th May 1998 

* arrived in Boroko, Papua New Guinea sometime 

in December 1998 

* Arrived in Darwin, Australia sometime in 
February 1999 

* Arrives in New Zealand, at the correct address 
and in perfect condition on 2 nd June 1999. 

After almost 13 months it made a perfect landing! Is 
not life highly entertaining? My thanks to Books.com for 
their service and patience with us folks from "down 
under." 



Part 2 of this interview will appear in the December 
issue. 




ROBERT SABUDA 



1 ft - Awful 

2 ft - Poor 

3 ft - OK 

4 ft - Good 

5 ft - Superb 




^A^ Chuck Murphy's Bow Wow. Little Simon. 
fljij\ 0-689-82265-0. $12.95 US, $19.25 Can. 
■«^»" 17x1 7cm. 10 pages. 10 pops, 1 pull tab. Art: 
Simple yet sophisticated computer art. Plot: Learning 
about different shapes with the help of our canine 
friends. Understated and gorgeous. A delightful gem. 
Paper Eng: Somewhat complex. 

The elements of pop-up. By David A. 
Carter and James Diaz. Little Simon. 0-689- 
82224-3. $34.95.US. 22x32cm. 9 spreads. 1 
large pop, 30 small pops, 8 pull-tabs, 4 wheels, 2 
flaps. Art: White, graphic pops against brightly 
colored backgrounds. Plot: Why do pop-ups "pop- 
up?" All questions are answered here. Beautifully 
designed and executed. Subtitled "A pop-up book for 
aspiring paper engineers" but it's also for other fans 
(collectors, architects and even mathematicians) who 
wonder how movement and the third dimension work 
together. Includes a brief history of pop-ups and how 
they are designed. Paper Eng: Simple to complex. 

Good night. By Jan Pienkowski. Candle- 
wick Press. 0-7636-0763-0. $14.99 US, 
$20.99 Can. 17x28cm. 5 pops, 4 tab/flap 
mechs, 1 wheel. Art: Confusing computer art. Plot: 
All the reasons you fear going to bed at night. 
Interesting idea but it doesn't really work. Is it 
supposed to be cute or scary? Paper Eng: Simple to 
somewhat complex. 

r The Hobbit. By J.R.R. Tolkien. Ill: John 
1 ** ~ Howe. Paper Eng: Andrew Baron. Harper- 
Festival. 0-694-01436-2. $19.95 US, $28.50 
Can. 20x27cm. 5 spreads. 5 multi-piece pops, 4 
tab/flap mechs, 4 pullout side panels with text. Art: 
Realistic watercolor. Plot: The famous, fantastical 
world of wizards, elves and dragons appear for the 
first time (I think) in pop-up form. The illustrations 
are good and the pop-ups are good but for some 
reason they don't really fit together all that well. 
Perhaps the fact that it's such a dark, murky tale 
makes the task that much more formidable (but what 
a beautiful front cover!). Paper Eng: Complex. 



Jack - it's a sunny day. By Rebecca Elgar. 
Paper Eng: Paul Wilgress. Kingfisher. 0- 
7534-5209-x. $10.95 US. 20x20cm. 7 








spreads. 6 pull tabs, 6 flaps. Art: Humorous, brightly 
colored watercolor. Plot: Jack the dog finds lots of 
things to keep him occupied on a sunny day. Simple 
and cute for very young readers. Paper Eng: Simple. 
Also: Jack - it's a rainy day. 

Max. By Ken Wilson-Max. Paper Eng: 
David Bennett Books. Hyperion. 0-7868- 
0412-2. $12.95 US, $17.95 Can. 20x22cm. 
6 spreads. 4 tab/flap mechs, 1 wheel, 5 flaps. Art: 
Brushy, brightly colored paintings. Plot: Meet Max 
and his two animal housemates. A delightful romp 
for young readers (especially the wiggling Jell-O). 
Beautiful, simple art. A great introduction to 
diversity for young readers since Max is the first 
continuing character in a series that's black. Paper 
Eng: Simple. 

The pop-up book of phobias. By Gary 
Greenberg. Ill: Balvis Rubess. Paper Eng: 
Matthew Reinhart. William Morrow and Co. 
0-688-17195-8. $24.95 US, $34.95Can. 22x28. 12 
spreads. 10 pops. Art: Slightly surreal airbrush. Plot: 
Your favorite phobias packaged to look like an 
encyclopedia. Surprisingly adult content with a bit of 
wicked, dark humor. Give it to your favorite neurotic. 
Paper Eng: Complex. 

Robert Crowther's most amazing hide- 
and-seek numbers book. Candlewick 
Press. 0-7636-0809-2. $14.99 US, $20.99 
Can. 27x20cm 6 spreads. 20 tab/flap mechs. 16 flaps. 
Art: Humorous watercolor. Plot: Every creature 
imaginable helps you count from one to 100. Lots of 
little things for busy hands to do. Cute, but a little 
rushed looking. Paper Eng: Very simple. 

Snappy little numbers. By Kate Lee & 
Caroline Repchuk. Ill: Derek Matthews. 
Paper Eng: Richard Hawke. The Millbrook 
Press. 0-7613-0437-1. $12.95 US. 22x27cm. 10 
spreads. 10 pops. Art: Humorous, brightly colored 
computer art. Plot: 10 different animals playfully 
show how (and what) they eat. Fun concept and nice 
artwork. For young readers. Paper Eng: Simple. 

Let's play. Text: Debbie MacKinnon. 
Photos: Anthea Sieveking. Paper Eng: Ania 
Mochlinska. Little, Brown. 0-316-64897-3. 
$7.95 US, $10.95 Can. 18x22cm. 8 pgs. 5 pull tabs, 2 
flaps. Art: Realistic photos. Plot: Different play 
activities that child engage in. Well designed and 
simple. Many diverse children represented. For very 
young readers. Paper Eng: Simple. 






Continued from page 6. 

It does not appear to be the original version of the 
Swedish book, but it seems obvious Meyers & Co. also 
did a book with the two mentioned changing pictures. 

Books with pictures on pages of various 
width. He means by this those books in which a base 
plate is covered by picture pages that diminish and grow 
in page width but always mix up with the earlier and 
coming pages, and that "tell" the story by turning the 
pages. Given here as an example are Lustig panorama- 
bok 1. Patra Trogelins underbara reseqfventyr berattade 
af en barman, Stockholm, Huldberg, 1878 and Lustig 
panoramabok 2. Hvad mamma berattade om qvdllarne 
for siner barn, same publisher, 1 879, both with pictures 
printed by Emrik & Binger. Though not mentioned by 
Klingberg, we recognized in them as two parts of the 
"Changing Panoramic Toy Book" series by Dean & Son 
from London: The Diverting history of Johnny Gilpin 
and What mother told her children at night, advertised as 
"fifteen feet of oil colour pictures forming nine grand 
tableaux." The English edition was printed at Emrik & 
Binger's, as was the Dutch version of this series of four 
titles. 

Heads, bodies and legs, or as Mr. Klingberg describes 
them: books with pages printed on both sides and cut 
horizontally as to give different pictures by turning the 
(parts of) the page. Three early titles in Sweden were 
published from 1 876 to 1 879 by Huldberg in Stockholm, 
all three with pictures printed again by Emrik & Binger: 
500 Lustigafbrvandlingar ( 1 876), Mjolnare-Pelles Katt 
(1878) and Den lila Rodppan (1879). Here again Mr. 
Klingberg doesn't mention the Dutch and Spanish 
versions; and edited in New York by Dutton as "Surprise 
Toy Books." Their original titles: Surprising comical 
characters with transforming pictures capable of over 
five hundred metamorphoses, New Puss in Boots and 
Little Red Riding Hood. 

Books with a hole in the place of the head, the head 
being printed on the inside of the back cover and visible 
through all the pages. The example is Gubben med 
skdpet (no publisher information, but also by Huldberg in 
Stockholm, 1 877) that has a person pictured with a head 
on the verso of the first page and one on the recto of the 
last page; the pages inbetween are printed with persons 
on both sides and have the hole instead of their faces. 
Once more, here was an original Dean title, from the 
same series of "Dean's Surprise Picture Books" now the 
title Dame Wonder 's changing characters and Peep show 
picture books, also printed by Emrik & Binger as were 
the Dutch and Spanish editions. 



Books with pictures with an underlaying variant 

Every picture here has a half-page flap pictured both 
sides and pasted on in the middle of the picture in such 
a way that you see one picture when the flap lays down, 
and another one when you lift the flap and turn it down 
on the upper half of the first picture. Given are two books 
printed at Hochdanz in Stuttgart, Germany: Den 
makalosa Bilderboken eller de underbara 
forvandlingarne (1873) and De underbara 
forwandlingarne. Ny bilderbok (1 876) both published by 
Oscar Lamm, Stockholm. They both have the same 
movable technique as we know from Walter Wonder- 
ment 's wonderful treble changes by Dean & Son, but the 
Swedish books originate from Germany where the titles 
are known as Das wunderbare Bilderbuch and Neues 
Verwandlungs-Bilderbuch published with the 
illustrations of Wilhelm von Breitschwert by Julius 
Hoffman in Stuttgart and are also known in French 
versions. 

Venetian blinds books, better known as dissolving 
pictures in which each picture is made up of a series of 
slats, a second series being operated by a tab to slide over 
the first and thus to form a contrasting picture. It is seen 
in Ndjsamm forvandlings-bilder, 1877, at Huldberg, 
Stockholm. It is the Swedish version of Dean & Son's 
revised edition of New book of dissolving views, first 
published in 1 860, now printed by Emrik & Binger and 
therefore also known in a Dutch version. 

Book with transparencies. This is exemplified by 
Stockholm's Albert Bonnier's 1880's title Transparenter 
forvandlings-taflor till sex af de vackraste qfventyrfor 
barn och ungdom. Effectively this is a portfolio with a 
textbook of six fairytales by Grimm, Bechstein and Franz 
Hoffmann, and six loose pictures in passepartouts. The 
pictures are underlayed by another picture that becomes 
visible when held to the light: so called "Phantasmagoric 
Plates." Here the original German edition is Transparent 
Verwand-lungsbilderzusechsderschonstenMdrchen,by 
Theodor von Pichler and published in 1879 by Gustav 
Weise in Stuttgart. 



Books with cut-out pictures, here restricted to books 
in which the pictures have to be completed by cut-outs 
from especially added pages. It is illustrated with three 
titles published in the series of "Ledsakbocker for sma 
barn" in 1873 by Albert Bonnier Stockholm. The titles 
are: Huset som vi bo uti, Barnkammerens leksaker and 
Yrkenas bok, being three of Warne's "Picture Puzzle Toy 
Books" published in 1 869-70 in England as The house 
we live in. The nursery play-book and The book of 
trades, with chromoligraphs by Kronheim. 



11 



Mr. Klingberg continues with a short paragraph on 
books with three-dimensional scenes and movable figures 
- from which we borrowed the title of this article. Here he 
lists some Swedish editions of books with pictures that 
fold out, pop up, have to be set up or folded down; some 
of them being combined with tab-operated movable parts. 
He first describes the 1883 book by Oscar Lamm in 
Stockholm published in a Swedish edition, Stort 
menageri, originally published in Germany in 1882 at 
Schreiber in Esslingen as Grosse menagerie, a book in 
which six illustrations of wild animals in their native 
habitats lift up to reveal them as zoo animals in their 
rectangular 3-D cages. An English edition appeared in 
1 884 under the Schreiber imprint as The great menagerie 
and most will know the books from its 1979 reprint. Less 
known will be that this book also appeared as a leporello 
making it possible to show the six cages standing one 
beside the other; and it was published also, as this 
Swedish edition is described, with the loose pages in a 
portfolio, giving the opportunity to place the fold-out 
cages in any desired order. 

A year later, in 1 884, Lamm brought another three- 
dimensional Schreiber book in Sweden: Isabella Braun's 
Allranyaste teater-bilderbok med rorliga figurer, 
originally published in 1883 as Allerneuestes 
theaterbilderbush but also published in American and 
French versions at the same time. The book shows four 
folding theatrical grotto-effects in which some parts are 
made movable by tabs. It is now mostly known by the 
1981 reprint as The little actor's theater published by 
Philomel Books. 

Two other theater books with movable figures were 
published earlier by Lamm: Stor utomordentlig Kasper- 
teater med manga lefvande kolorerade gubbar. I. herr 
Kasper och nans upptdg i staden ochpd lander being the 
1866 Swedish version of Schreiber 's grosses 
puppentheater (1864) with six tab-operated Punch and 
Judy scenes illustrated by Carl Haeberlin. And about 
1876 the Ny Kasper-teater, printed in Germany and 
published in London about the same time by Dean & Son 
as Royal Moveable Punch and Judy. 

A final variation of picture books with movable figures 
is represented by four books originating from Dean & 
Son and published in Swedish versions in 1891-92 at 
Enval & Kull in Stockholm: Gfverrasknings-bilderbok, 
En badresas nojen, En utflykt till landet and Histbrien 
om en gammal sockertunna. We recognized the 
wonderful "Dean's Surprise Model Series" published in 
the same years and showing four beautiful books in 
which the pictures lift from the pages by the use of 



strings fastened to the opposite pages. This rather unique 
technique, to our knowledge used only for this four book 
series, enabled rounding forms for the first time (for 
examples a rounding lighthouse). The original titles of 
the series, known also in a French edition, are: Surprise 
model picture book, Seaside fun, A visit to the country, 
and The tale of an old sugar tub. 

Mr. Klingberg finishes this section of his book with 
paragraphs on Swedish editions of panoroma books 
(concertinas/leporellos) from foreign origin. There were 
three Meggendorfer titles published by Oscar Lamm, 
Stockholm including / cirkus (1886), the well-known 
International Circus - but maybe better placed in the 
former chapter of books with three-dimensional scenes - 
and Fran barnkammeren ( 1 888), known in Germany as 
Der Viehmarkt. He also includes the five title series of 
"'Dean's Cardboard Panorama Toy Books," published in 
1 890, and other originally German and Dean panoramas. 

Finally there is a paragraph on linen picture books, 
shaped books and books with a variant binding; for this 
last category listing the 1891 Swedish editions of the 
"Dean's Pantomime Series" of shaped theatrical books 
opening from their midsts: Askungen, Robinson Crusoe, 
Lila Rodkappan and Skonheten och odjuret (Cinderella, 
Robinson Crusoe, Little Red Riding Hood, and Bella and 
the Bear), known also in French, Dutch and American 
(McLoughlin) versions. 

Eleven of the most significant books from the various 
categories are pictured in full color in a special picture 
section of the book. 

As said already, we think Mr. Klingberg did a good job 
in this systematic study of the production of Swedish 
novelty and movable books that originated and/or were 
printed abroad, though it made us very curious to read 
about original Swedish productions. By restricting 
himself to the international aspects of the subject, he 
initiated the study of the still unwritten history of the 
international production and exchange of these 
children's books from the 19 th century seen from a 
comparative point of view; to trace the forerunners from 
long ago to Intervisual, Carvajal, Tien Wah Press and all 
those others that work together to enlarge our collections. 

Gote Klingberg, Den tidiga barnboken i Sverige. 
Litterara stromningar, marknad bildproduktion. 
Stockholm, Natur och Kultur, 1998. 240, XVI pp. ISBN: 
91-27-07075-1. 



12 



In the News 

«/ Movable Book Society member Annie Tremmel 
Wilcox is the author of A degree of mastery: A journey 
through book arts apprenticeship (New Rivers Press, 0- 
8982-31884-4 $27.95). The memoir describes her 
apprenticeship in bookbinding and conservation at the 
Center for the Book at the University of Iowa. The text is 
richly descriptive with both technical jargon and personal 
insight. As she learns her craft she details the construction 
of books and the layers of the book structure needing 
repair and describes how the book is taken apart, washed 
(when needed), and reconstructed. Her tools are carefully 
chosen or manufactured to fill every need. 

To quote the Kirkus reviews "Book lovers will love 
this book." 



Since the title says explicitly the book was translated 
or adapted after the English, and was written by the 
author of Lina, the book that was the Dutch adaptation of 
Rose Merton, the little orphan, published as Dean 's new 
dress book in 1860, it seems reasonable to think there 
has to be an English original. 

The forty-page history in prose tells the story of the 
boy and girl named in the title who were orphaned at an 
early age and have to live in poverty but stay honest 
children. Growing up the boy Rudolph has the chance to 
go to the colonies in the Far East (here to the East Indies) 
where he succeeds in making his fortune. Back at home 
he is able to live in great style, together with his re-found 
sister Susanna. 

There are four hand-colored full-page illustrations 
with mounted fabrics and the fourth one with a movable 
part - Rudolph and Susanna driving horses. 



■<f Intervisual Books has signed a multi-year 

agreement with Los Angles, California-based PorchLight 
Entertainment to create, produce and distribute interactive 
books based on the popular children's television series, 
Jay Jay the Jet Plane. 



Does anybody recognize the English version of the 
book? Maybe it is a Dean title as Rose Merton was. We 
would be very grateful to receive information about it. 

Theo Gielen 
The Netherlands 



Terms of the agreement call for the first books to be 
exhibited at the Frankfurt International Book Fair in 
October. The books will hit the United States retail market 
in Spring 2000 and will include the hide-and-peek books, 
pop-up playsets, and other interactive, high-end formats. 



?/ A new museum recently opened in Germany, a 
special J.F. Schreiber Museum, the publishing house that 
brought not only Meggendorfer movables but also other 
pop-ups, movables, and picture books for almost 200 
years. The address is: 

J.F. Schreiber Museum 

UntereBeutau8-10 

73728 Esslingen am Neckar, Germany 

Telephone: 0711-3512 or 3240 



Questions and Answers 

Q. Studying the history of the Dutch movable books I 
recently came across a so-called "Dress book" in which 
the dresses of the characters on the pictures are formed 
from applied pieces of fabric. Its title reads: Rudolf en 
Susanna, ofBeloond ouderliefde. Door den schrijver van 
het kleedingboek Lina of het vermiste kind. Naar het 
Englesch. (Rudolph and Susanna, or repaid parental love. 
By the author of the Dress book Lina or the missing child. 
After the English.) Published in 1862. 



Q. I am seeking a copy of a miniature handmade book 
by Maryline Poole Adams entitled The peepshow Alice. 
I would very much appreciate being contacted by anyone 
who might know of a copy of this book being offered for 
sale. 

Bettyrae Eisenstein 
Pasadena, CA 



Q. As far as I am concerned "pop-up book" hides an 
enormous amount of other "special" books. Books with 
flaps, pockets, cut-outs, sound, mechanical paper devices, 
pop-ups, interactive elements, etc., etc. So often I'm 
asked to give a lecture about my work and I always 
include a bit of history on pop-ups from the invention of 
the printing machine right up to now and show slides of 
old and new books that, in my opinion, were landmarks 
in our industry. Just to give a few examples: 

1 . Pinocchio/Blue Ribbon 

2. Nister/ Wonderland pictures 

3. Meggendorfer 

4. Bookano books 

5. Many mice of Mr. Brice/ Random House 

6. Haunted house/]an Pierikowski 

7. National Geographic series (Jim Diaz, John 
Strejan) 

8. Human body (Vic Duppa- White, David 

Pelham) 

9. Star books (Purnell) 



13 



10. Christmas items, greeting cards, toy 
books, etc. 

If anyone feels I'm missing something that is a 
milestone and has a good picture (or slide) of it, please 
contact me. There are certain areas or periods I have little 
or no knowledge about. 

I once saw a book printed around 1 540 and the subject 
was races/tribes around the world. The left page had some 
blurb about a tribe and the right page had a pocket with a 
cut-out character of that race and in the back was a 
"globe" of the world with segments (like an orange) held 
together in the middle. The top and bottom ends had 
string attached to them, all going through beads at the top 
and bottom so that, when the string was pulled the 
"segments" formed a globe. Unfortunately I have no 
pictures or title. 

Another famous book I've seen (again no picture or title 
in my possession) is a medical book with flaps unraveling 
the human body. This is one from the 1 6 th century as well. 
Another famous one I've seen is a book by the German 
astrologer, Apian us, on astrology. (There are three copies 
left in the world, the Met in New York and the British 
Museum among them.) The early "printed books" still had 
a hand-made mentality about them, understandably. 

Does anyone have some more information from that 
period? Then, as far as I'm concerned, there is an 
enormous gap up to the 1 850's. 

I am interested in receiving information about the 
following things: How the invention of the postage stamp 
helped the rise of the postcard and the 3D greeting cards? 
(Victoria and Albert Museum collection). How the 
mechanical toy industry in Nuremberg, Germany 
encouraged Meggendorfer in his work? Who was the first 
person to make a 3D scene or pop-up? It must have been 
before 1870 because I have a Christmas card with a 3D 
scene from that date. 

If anyone has any information I might be interested in, 
please contact me. 

Ron van der Meer 

Garden Cottage/ 18 Ditton Park Rd. 

Datchet SL3 7JB England 

Q. For the preparation of an article on the Schreibers 
stehairf bilderbiicher and the Schreibers stehauf- 
mdrchenbucher as published in Germany in the 1930's 
until the 1950's, I would like to have more information 
about the English and Italian editions of these pop-up 
books. The books measure 15.5 x 24 cm., their text 
(mostly) printed parallel to the spine, have four pop-up 
scenes (cut and fanfolded) on heavy board, rather simple 



but nicely illustrated with a remarkable use of 
perspective. 

I know at least one English edition: Hallo the 
railroad! Schreiber Plastical Picture Book, no place, no 
date but about 1950. Who knows or owns other titles 
from the series? Maybe there is somewhere on the books 
a listing of other titles or an advertisement for the series? 

An Italian translation was published during wartime 
(?) by Casa Editrice Mediterranea in Rome as Album 
Mediterranea and/or Mediterranea-Album rilievo. I 
know from a no. 1 Nello zoo and a no. 4 Buon wiaggio. 
Is there anybody amongst the readers of MS who can 
give me more information? I know about the South 
African and the Spanish editions of these books, but does 
anybody know about editions in other languages? 

Theo Gielen 



Q. Are there any collectors who would open their homes 
by appointment to members to see their collections? 

Susan Rothwell 
Salt Lake City, Utah 

A. Several people have visited my home to see my 
collection and I would welcome others. I have also had 
the opportunity to see several other private collections 
and enjoyed meeting the collectors and seeing unique 
books in their collections. 

Ann Montanaro 
East Brunswick, N.J. 



Q. 1 would like to find out where I could locate a 
complete list of all pop-up publications of Blue Ribbon 
Press (as well as Pleasure Books, Inc.), all of which were 
published, I believe, in the 1930's. I have noticed that 
some of the early Mickey Mouse pop-ups were published 
by Blue Ribbon Press, but some were published by other 
publishers in other languages and other countries, but 
using the Blue Ribbon format. Was there a connection? 
Would there be a list of these foreign Mickey Mouse pop- 
ups as well? 

Bettyrae Eisenstein 



Q. In 12 plus years of collecting pop-ups I have never 
come across a pop-up book made of fabric (a cloth book). 
I recently obtained Pop-up zoo friends, Checkerboard 
Press, 1989. ISBN 0026891883. It has two pop-ups of a 
monkey and a giraffe. Does anyone know of others? 

Frank Gagliardi 
Plainville, CT 



14 



A. In response to a question raised by Francis Gagliardi 
regarding record albums with pop-ups. there is also an LP 
record album of the Swedish pop group from the 1970's 
ABBA that has a pop-up scene in its covers. And, a nice 
Christmas scene pops up in the album of German singer 
Heino: Deutsche Weihnacht . . . und festliche Lieder on 
the lable EIM-Electrola, nr. C064-29539, with the pop-up 
cover design from Atelier Patelli. 

Theo Gielen 
The Netherlands 



Q. In a recently acquired catalog of old children's toys, 
published in 1 895. We found under number 4864 the offer 
of: 

Tab-operated Picturebooks by Meggendorfer, in 
ca. 8 different titles, are the funniest movable 
picturebooks that exist; full of humour and 
pleasantry, with fitting verses, fetching 
movements and lasting mechanics, Mark 5.00 a 
piece, new small edition Mark 2.50. 



jointly-produced catalog sold 
interested, please let me know. 



at cost. If you are 



Ann Montanaro 




We agreed with the bragging text of the 
recommendation but wonder about its last part: who has 
ever heard of or even seen copies of Meggendorfer books 
in a "small edition," so small that they cost only half the 
price of their "normal" edition? 

Please contact us if you have any information. 

Theo Gielen 



How do members sell their unwanted pop-ups? 

Clive Sayer 
Kent, England 



Q. Would members be interested in having a way to sell 
books to one another? Does anyone have an idea of how 
that might be done? Some ideas which have been 
suggested are: a password-restricted web site, a list in the 
newsletter of people who have lists of books for sale, a 



Catalogs Received 

Books of the Ages. Catalogue 2 1 . Gary J. Overmann. 
Maple Ridge Manor. 4764 Silverwood Dr., Batavia, Ohio 
45103. Phone: 513-732-3456. 

Page Books. Catalog 11. 117 Danville Pike, Hillsboro, 
OH 45133. Phone: 937-840-0991. pagebook@dalco.net 

Jo Ann Reisler, Ltd. Catalogue 48. 360 Glyndon St., NE, 
Vienna VA. Phone:703-938-2967. Fax: 703-938-9057. 
Email: Reisler@clark.net. 

Unicorn Books. Catalogue 90. 56 Rowlands Ave., Hatch 
End, Pinner, HA5 4BP, England. Phone:0 1 8 1 -420- 1 09 1 . 
Fax: 0181-428-0125. http://www.unicornbooks.co.uk. 



New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or advertising. 
All titles include pop-ups unless otherwise identified. 

All the world's a stage: A pop-up biography of William 
Shakespeare. By Michael Bender. Chronicle. September. 
8% x 8'/ 2 . 20 pages. $14.95. 0-81 18-1 147-6. 

The amazing pop-up music book. [Includes a working 
keyboard as well as pop-ups.] By Kate Petty and Jennie 
Maizels. September. Dutton Children's Books. 9x12.14 
pages. $22.99. 0-525-46160-4. 

Animal noises: On the farm, [simple pop-ups] TODTRI 

Book Publishers. SVi x 5Vi 10 pages. $2.98. 

1-57717-096-2. 

Also: In the country. 1-57717-0982-9. In the jungle. 

1-57717-097-0. My pets. 1-57717-099-7. 

The art of science. By Jay Young. [A pop-up book about 
how science has influenced artists.] October. 
Candlewick. 0-7636-0754-1. $27.99. 

Ask Babaloui: A fortune-telling activity kit. By Dale 
Gottlief and Jane Burns. August. Chronicle. IVi x l l A 
inches. $14.95. 0-8118-2495-0. 



15 



Beauty Mouse and the Beast. By Keith Moseley. Van der 
Meer Books. (Distributed by Abbeville.) $8.95. 
Also: Cindy Mouse. Robinson Mouse. Snow Mouse and 
the seven moles. 

Bertie bones. By Tim Wood. [Pop-up in coffin lid.] 12 

pages. 5x8 inches. 12 pages. $4.95. 

0-7641-5165-7. 

Also: Gussie ghost. 0-7641-5166-5. 

The Bible made easy: A pop-up, pull-out, interactive 
Bible adventure. By Alan and Linda Parry. Thomas 
Nelson. 9 x 12 inches. 24 pages. $16.99. 
0-849-95902-0. 

Busy preschool: An interactive book with pull-tabs. By Jo 
Lodge. $9.99. Dial. 

Captain Calamity 's big mistake. Playmobil Books. 7 Vi x 
8 inches. 10 pages. $7.99. Reader's Digest Children's 
Books. 1-57584-301-3. 

A Christmas carousel, [also an advent calendar] By 
Franceses Crespi. October. Chronicle. 8 x 9 3 /4 inches. 5 
three-dimensional spreads. $12.95. 0-81 18-2614-7. 

Christmas playset: With wind-up train, pop-up scene, 
sound chip, light, and punch-out characters. By Paul 
Stictland. September. $24.95. Piggy Toes Press. 
1-5811-7048-3. 

The Civil War: A new view, in close-up 3-D. (Four 
scenes.) By Mark Frey. Running Press. $19.95. 
0-7624-0614-3. 

Colors pop-up fun. By James Diaz. September. Piggy Toes 

Press. $7.95. 1-58L1-7067-X. 

Also: Counting pop-up fun. 1-5811-7068-8. 

Curious George 's pop-up storybook house. September. 
Houghton Mifflin. $20.00. 0-3959-7908-0. 

DK amazing pop-up pull-out 3D timescape. By Richard 
Piatt and Stephen Biesty. September. 10 x 13 3 /4 inches. 8 
pages. 0-7894-4716-9. 

77k? elements of pop-up. By David Carter and James Diaz. 
October. Little Simon. $34.95. 0-6898-2224-3. 

Follow the dump truck Tonka pop-up board books. 

October. Scholastic/Cartwheel Books. 414 x 4V4 inches. 

6 pop-ups. $4.50. 0-439-08287-0. 

Also: Follow the fire truck 0-439-08287-0. 

Follow the tow truck. 0-439-08287-0. 

Follow the tractor. 0-439-08287-0. 



Hanukkah! By Sarah Freedland and Sue Clark. 
Candlewick. October. $18.99. 0-7636-0890-4. 



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Heroes of space: A three-dimensional tribute to 40 years 
of space exploration. Intervisual Books. 12x12 inches. 
8 pages. $29.95. 1-58117-054-8. 

Laura the pet vet: Fisher-Price little people pop-up 
playbooks. 414 x 414 inches. 12 pages. Readers Digest. 
$4.50. 1-5758-4197-5. 
Also: Who will play with kitty? 1-5758-4199-5. 

Let's play, [tabs and lift-the-flaps] Little, Brown. 9x7 
inches. $7.95. 0-3166-4897-3. 
Also: My day. 0-3166-4898-1. 

Little snail 's big surprise. By Carla Dijs. Child's Play. 
$8.99. 

Monet's house at Giverny: A pop-up carousel. July, 
1999. 32 pages. Universe Pub. 0-7893-0268-3. 

The movable Mother Goose. By Robert Sabuda. 
September. Little Simon. $19.95. 0-6898-1192-6. 
Limited edition: $100.00. 0-6898-3149-8. 

The pop-up book of phobias. Gary Greenberg, editor. 
November. William Morrow. $24.95. 
0-6881-7195-8. 

Roxie and Bo together. Candlewick Press. 8 x 814 inches. 
20 pages. $12.99. 0-7636-0879-x. 

Runaway kitten. By Carla Dijs. Childs Play. 16 pages. 8 
x 714 inches. $8.99. 0-8595-3669-6. 

The secret fairy party book. By Penny Dann. September. 
Orchard Picture Books. 6x8 inches. 16 pages. $14.95. 
0-531-30183-4. 

Snappy little bugs. By Claire Nielson. Millbrook Press. 
$12.95. 0-7613-1279-X 

Also: Snappy little farmyard. 0-7613-1278-1. Snappy 
little Christmas. 

Truck jam: A monster truck pop-up. By Paul Stickland. 

September. Dutton. $15.99. 

0-5254-6086-1. 

Wild animals pop-up. By Rod Campbell. WJ Fantasy. 
$7.95. 



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